Efficient, honest and reliable teachers must be honoured

[msakella]

The Doctor, Lawyer, Teacher and Leader are, in general, the four pillars of the society and, even among them; ultimately, the teacher is the very important person who shapes all these four. That is why efficient, honest and reliable teachers must only be honoured with suitable titles than these parasitical artists who always strive hard for their self-development only. amsharma

[mri_fan]

Are you calling all of these artists parasitical?

[Sam Swaminathan]

mri_fan...you know pretty well that Sharmaji is not alluding his comments to all the artists. You know that. Or you should know that if you have read Sharmaji's contribution in various threads. His approach has always been steady and fair. I think your statement, though in a question form, is mischivous.

[mri_fan]

i'm not being mischievous. As written, what he's stated is very unclear and confusing.

[Sundara Rajan]

Yes, it is a blanket statement against all who are not teachers ! In all fields of human endeavours, there are gems who have to be respected / honored by thier peers, and if that happens to be a field of public interest, then the public at large also should recognize such individuals. We know quite well that there are scums among doctors, lawyers and teachers also, who are after money only. Talking about "leaders" that Sharma refers to, we owe the present plight of India to such corrupt unscrupulous "leaders" only ! Why single out artists/musicians only ? I may be wrong, but I note signs of some disdappointment in the teacher's post.

[Nick H]

Signs of disappointment?

He makes no secret of having become greatly disappointed --- by his own teaching. That is why he set out to find other ways of doing it.

As for blanket statements: i think the word is hyperbole?

[msakella]

Yes, as I, at this age, feel it as my duty to bring out the truths, I shall certainly make it clearer even if it is bitterer to many of the hypocrites.

In our daily meal, we get rice from one person, pulses from some other persons, vegetables from some other persons, oils from some other persons and, ultimately, we have a total meal which obviously indicates that any person is part and parcel of the society and everybody must, in turn, serve the society truly and truthfully in his own way to make it abundant in all respects.

Leave alone others, I have myself served as Lecturer in Violin and Principal of the Govt. Colleges of Music & Dance in Andhra Pradesh for 35 long years. In the absence of any teacher-training course in music (in our country, since many years, there has been only one music-teacher-training course attached to the Music Academy, Chennai which, in fact, will not serve the purpose at all) and having been an un-trained person I was appointed as Lecturer in Violin in 1961 and, also in the absence of any academic supervision since more than 50 years, successfully retired even without any hitch. Even though I was regarded as one of the best-violin-teachers in our state later introspection after my retirement revealed that I was only 10% successful in my Violin-teachings. Then I felt very unhappy, thought that I, all along my service, absolutely lead a parasitical life not only as an artiste but also as a teacher, imposed a punishment on my own self giving up my artiste-life as a Top-grade professional-violinist, spent my whole time in finding new methods in teaching music making it ‘time-bound and result-oriented’ unlike in the past and took the propagation of these easy methods as my mission for the rest of my life. In my extensive research after my retirement, only by the grace of the Almighty, not only I have found my own mistakes but also the mistakes of all others and found remedies also for all of them. In this process only I became aware that ‘quantitative-teaching’ only is being made all over the globe by all the music-teachers but not ‘qualitative-teaching’ at all. Only by ‘qualitative-teaching’ the aspirant becomes able to sing Svarakalpana and Ragalapana even before the completion of Varnas. Basing upon these easy methods starting from January, 2010 I could initiate Chi. Shreenidhi, grand-daughter of Shri S.Nageshwaran through Skype to learn 10 Adi-tala-varnas, 3 or 4 Kritis, brief Ragalapana and intricate-mathematical-svarakalpana and made her sing a successful concert of 45 mts., at the global meet of Rasikas at Chennai on 19-12-2010. In one way this is also a proof that any efficient, honest and reliable music-teacher can very easily initiate his/her aspirant learn the same in such a very short duration and make him/her sing a successful concert like Chi. Shreenidhi. I shall bow down to such dedicated teachers and can’t help calling all others parasites only as they always teach how to stitch a pant or shirt but not how to take physical-measurements of a person. They all can as well come out to prove themselves not parasites. amsharma

[mri_fan]

Sir, why do you have to call other parasites. I'm sorry that you feel bad that in your previous teaching efforts you were not as successful as you would have liked. I am also happy that you feel like you have improved your methods. Why does that mean that you can judge the intentions of other musicians?

[Sundara Rajan]

Mr. Sharma's post is too personal for me to comment upon any more. I do sympathise with his situation. That doesn't give him any right to call all other successful artists as unfit parasites! After teaching and training hundreds of students in several universities around the world for 30+ years, I retired fifteen years ago and am living on meager teachers pension (TIAA) and social security. Many of my students are now earning tenfolds of my last pay and some of them have received awards that deluded me ! I am not jealous of them but rather am happy for them and am proud of them. I would never call them parasites. All of us do not get the same opportunities or luck, if you will, in life. As a Hindu I have accepted my state in life as given to me, not that I did not aspire or strive hard for a better lot. That has been the lot of teachers. They should be glad that their students are better off.

[VK RAMAN]

"can’t help calling all others parasites" - judging everyone and comparing them to oneself does not bode well with any educated (in spirit) person of high standing IMHO.

[msakella]

The precarious conditions of the poor aspirants I came across in many incidents at different places brought me to this conclusion that all the musicians are nothing than parasites. They all work hard for their self-development only but hardly work for the development of the society. I cannot and do not narrate all those incidents here to save myself from any kind of blemish from any corner. Even though I am not an educated person like many of others, at this age, I know better than any other person in this particular respect.

Liking and disliking the qualities of any person depends upon their own level of knowledge and level of thinking. Only by the grace of the Almighty, while I am in the 10th floor of the 100-floors-building of the teaching methods all others remain in the 3rd or 4th floors only. So, I am the better judge of my own qualities and I don’t mistake anybody in this context as even professional-musicians or so called present expert-music-teachers cannot understand the intricacies of teaching I have come across. Even though everybody is ready to prescribe one medicine or other to another person he cannot perform a surgery at all to that person. In the same manner, even though everybody who learns and performs music can never teach music efficiently to the aspirant. Most unfortunately, in this music, a person who knows only ABCD is ready to teach music to another person who doesn’t know even AB and this is the precarious state of affairs in our music.

Fortunately or unfortunately, unlike any other art, this fine art, music is absolutely invisible. Both Shruti and Laya of music are absolutely invisible and learning this art requires an entirely different level of mental calibre. For this purpose, individual attention towards the aspirant is the only way either to initiate or to teach. In general, the teachers of all other subjects read the lesson and try to explain the implications to all the students in the class at a time. That is all. But, music is not only invisible but also purely technical. As the aspirant doesn’t know what he doesn’t know he cannot question the teacher. I very well know that even the professional-music-teachers are unable to assess the instinctive level of the aspirant and to nourish it.\ properly with proper aids. Mostly, the aspirant learning this art should be initiated basing upon his/her instinctive level of Laya and Shruti. That is why no teaching methods have ever been brought out in music. In this art, mostly, the teachers’ inabilities and inefficiencies take out the life of the aspirant. If only 2 or 3 students are successful among the group of 10 students of a teacher, the teacher claims that he did teach them all well but others are failed due to lack of required practice and attention. But, in my serious observation, in almost all the cases, found that these 2 or 3 students are, somehow, fortunate enough to have got out of the tentacles of this teacher from being spoiled fully.

In this new method of teaching while the initiation is more than 80% the direct teaching is less than 20%. Thus, I have initiated a 11 years old boy, Chi. J.S.Shriram, who had already learnt up to Gitas, to learn 9 Aditala-varnas, one Ata-tala-varna in Bhairavi and one Svarajati in Bhairavi within only 15 days. He became able to give one-hour-concert successfully within a short span of 2 years. In the same manner I could initiate Chi. Shreenidhi, grand-daughter of Shri S. Nageshwaran, Chennai, on Skype to learn the same within only 4 months. Even after the completion of Varnas I never directly teach them even the first Kriti but initiate them to learn Kritis and also sing Svarakalpana and Ragalapana on their own within one year. I sincerely feel that the duty of an efficient teacher is to make the aspirant independent in all respects instilling self-confidence and properly feeding him with all the needed technicalities to proceed further on his own. After teaching the aspirant how to drive a motor-cycle there is no point in taking the aspirant on the pillion. But, funnily, in our music, there are several teachers who very often claim that some of their disciples have been learning music from them since last 20 or 30 years just like a patient receiving treatment since last 20 to 30 years from a particular doctor.

An efficient, honest, reliable and professional-violin-teacher can only understand my points but not others. I don’t even expect the same from others. In fact, since more than 10 years, after having fortunately found these easy methods in teaching music in my extensive research, I have been vigorously searching for an efficient, honest and reliable music-teacher to ask him/her some very highly interesting technical questions. But, I very well know that people are ready to find fault with me if I tell that I could not find anybody yet.

I am always ready to answer any efficient, honest and reliable teacher who can make his aspirant also like me. Even though I am stamped as a rude and arrogant rogue by one and all, at this fag end of my life, I cannot waste my precious time and energies in this kind of useless discussions and writings which end nowhere. I stop here. amsharma

[srkris]

But, funnily, in our music, there are several teachers who very often claim that some of their disciples have been learning music from them since last 20 or 30 years just like a patient receiving treatment since last 20 to 30 years from a particular doctor.

So you equate musical initiation to medical help! You believe that it should be short and effective, rather than long and vacuous. That's something for everyone to think about.

[msakella]

Only in the very high interests of our own kids and also in the wake of the newly and readily available easy, logical, effective and fool-proof system of teaching of our Karnataka-music I very strongly condemn the present traditional system of teaching music which provides to teach a number of different compositions only but throwing the entire responsibility of getting Manodharma over the head of the poor aspirant. In this respect I am ready to participate in any discussion to prove it only in the interest of our own kids but not my self-interest at all.

I am compelled to deviate the topic of this thread for which I feel very sorry and beg the pardon of all brothers and sisters of this forum. amsharma

[vasanthakokilam]

Akellaji is trying to transform the music education system itself. The enormity of the change will be clear once you understand the key aspects of his method. Anything original like this ( brought about through his own R&D ) may not get accepted right away but that is not due to any deficiencies in the method.

I do not really want to get in the middle of the discussion about parasites since, to me, that is a straw man. We can take pot shots at his use of the word 'parasite' but that will be missing the point. The nature of the music education system that makes the student dependent on the guru for a long time is the most significant thing. The current day system can be described as 'give someone cooked food for a long time and see if he learns how to cook' whereas msakella's system is along the lines of 'start by teaching how to cook and set them free'. The key difference is, the student becomes independent of the guru fairly quickly. Akellaji is quite passionate about that three fold goals of the teaching method: result-oriented, time-bound and independence. It is quite radical, powerful and novel indeed and he has case studies to prove his method works. Not that great artists are not born out of the current system, but when a student does not learn, that is usually attributed to lack of gyAnam ( god-given or pUrva janma puNyA related ). But the teaching method is rarely questioned. That is what msakellaji is doing. Given all this context, as msakellaji explains above and elsewhere, it is not about any of his personal situation. In fact, his complaint is, the Music Academy, having given him one of the highest honors, seems to think that it has done its job in these matters.

Now to understand that he has thought about this at a fundamental level, consider something he says which is quite profound.

"...unlike any other art, this fine art, music is absolutely invisible. Both Shruti and Laya of music are absolutely invisible and learning this art requires an entirely different level of mental calibre..."..

And another thing he always stresses is: Laya comes first since laya gives you confidence.

Combine the above two in the context of his goal of 'early independence' to realize why he gives laya the foreground in the early lessons.
In an invisible art form like this, gaining confidence is very important for one to venture on their own and be independent, and a good grip of laya is the walking stick and the lamp that gets you through this invisible landscape with confidence.

[VK RAMAN]

Good title. Can a successful performing artist be a good teacher? Can they reverse the role?

[msakella]

Every letter our brother-member, vasanthakokilam, wrote in his post is absolutely true. He truly understood this system in letter and spirit far more than any music-teacher. Naturally, any novel system gets terrible opposition at the first instance. But, basing upon its efficiency and success, it will be popularised and followed gradually.

Now, some people at Hyderabad are able to realise the importance of this new method of teaching music. Here, nearly 6 years back I have trained an 11 year old highly talented boy, Chi. J.S.Shriram. Within a duration of 3 years he was able to give a 2 hrs. concert efficiently and till now he had given 70 to 80 full-length-concerts including one such concert even in the Music Academy, Chennai in and around April, 2010. Having become inspired, his father Shri J.S.Eshwara Prasad, a famous Nritya-sankeertana-artist and his mother, Chi. Sow. Chidroopa Lakshmy, a post graduate and gold-medalist in music from Telugu University started teaching in this system to some of the aspirants. In their institute, 3 years back, while there are only 12 students to learn, now there are 72 students learning among which each and every student is proceeding further successfully with enormous self-confidence due to this rhythm-oriented method of teaching music. Having become inspired, Shri J.S.Eshwara Prasad had even resigned to his lucrative job and recently registered three institutions, 1.AMS Foundation for research and development, 2.Swarabhangima for teaching and training the kids in music and 3.Sampradaya arranging monthly-concerts for showcasing the talents of all the local kids for the benefit of the younger generation. He is the only such person I have ever seen sincerely doing yeoman service to the society along with all his family members through these 3 institutions.

Recently, even after attending the successful concert of Chi. Shreenidhi at the Global meet of Rasikas at Chennai on 19-12-2010, having become inspired, some aspirants from Chennai and also from US have started learning music in this system through Skype. Thus, gradually, basing upon its good qualities my sincere contribution of this novel system specially brought out to benefit all our kids is spreading even though the Great Music Academy, Chennai simply washed her hands by giving me the TTK award (In fact, I had some previous experience with this Music Academy, Chennai. On 25-12-1983, in the Music Academy, I have demonstrated the rarest topic, Talaprastara for the first time in the history since many centuries. Then they have not shown any interest either in giving me an award or in its propagation for the posterity. That is why I have very simply refused to receive the TTK award when I was first informed by telephone by the Secretary, Shri Pappu Rao. But, later when he persuaded me, I agreed to receive it with an optimistic view that they, as the Meccademy of Music, make take necessary action for its propagation. But, later by their indifferent attitude I came to know that they are in the old hang-over only).

Brother-member, VK RAMAN: A successful performing artist can never become a good teacher. The performer’s success mostly depends upon his own public relations like the present-day-artistes and the performer, basing upon his/her own efficiencies or deficiencies, always strives hard for his self-development only but never even thinks of the audience to increase the level of their knowledge except for his self-benefit. But, the teacher had not only to practice the art heavily to get reasonable control over it like a performer but also to study the psychology of a number of aspirants both to initiate and teach them to make them replicas of him/her. More over, there is vast difference between these two attitudes of teaching and performing. But, most unfortunately, at many places, many great performers of repute have been appointed as Principals of music-institutions and departments and, fortunately, people do not know how much harm they have been doing to these institutions and departments.

No other job on earth is ever comparable with the very highly noble job of a teacher. But, many of the present-day teachers are not fit to be called as teachers but, cheaters. Any doctor should not give away one of the medicines of the hundreds of medicines supplied by the medical representatives to his patient but a suitable medicine after properly diagnosing the disease and its severity. In the same manner a true teacher must assess the abilities of his aspirant and initiate or directly teach the subject to make him understand and proceed further on his own. Any teacher should never forget that the primary duty of the teacher always is to make the student independent in all respects. In our music, to do so, it is highly necessary to properly assess the level of his instincts.

Every aspirant learning these arts always treats his/her teacher as his ‘GURU’ as, in our Indianity, Guru and Husband are always treated very high even far more than the Almighty. But, while getting the knowledge of Manodharma-sangeeta is the criterion of learning our music, and, even among the Shruti and Laya, while the Laya only instills confidence into the aspirant, most unfortunately, our “GURUs” did never even care to include the intricate rhythmical exercises in any of the syllabi in our traditional system of teaching over the globe.

More over, adding fuel to the fire, in our music, in the absence of a suitable yardstick, neither the aspirant nor the parent is able to assess the merits or demerits of the teacher or to assess how much the teacher is teaching the lesson properly or to assess how much subject the aspirant is learning gradually increasing his own capacities. Among such precarious conditions all the music-teachers are able to exploit their aspirants and parents to the maximum level and, in my extensive search since last 15 years, I did never find even a single efficient, honest and reliable teacher in music.

But, in my extensive research, now, I could find a yardstick to assess the level of efficiency the aspirant gets in course of his/her training from his/her respective teacher. This yard-stick is mainly based on rhythm only. For this purpose only, for the first time in the annals of our music-teaching, the Jati-alankaras are introduced making the process of teaching very easy, quick and efficient unlike in the past. In this new process, at the first instance, the aspirant’s abilities in rhythm must properly be tested to assess the level of his/her instinct. Later, the first lesson is to initiate him/her to render these Jati-alankaras both in Chaturashra-gati and Trisra-gati along with the needed Jati-groups of Trisra (3), Chaturashra (4), Khanda (5) and Mishra (7) in three kinds of each one of them within a maximum span of 3 months. Only after finishing these rhythmical exercises the aspirant should be initiated to play Saralee-svaras in Shankarabharana on Casio MA-150 along with the in-built Metronome and sing along with it later. These details have been elaborated in the note at the end of the list of contents of the mp3 CD, AMS Easy Methods-2007 available from http://www.sangeethamshare.org/chandra/ ... hods-2007/. If the aspirant is unable to render these Jati-alankaras efficiently within the duration of 3 months maximum the music-teacher must be changed. In the same manner, if the aspirant is unable to finish off the 10 items, 9 Adi-tala-varnas, 1 Ata-tala-varna and 1 Svarajati in Bharavi within the maximum duration of 12 months or 18 months after which the aspirant becomes able to learn Kritis and sing simple rhythmical-svara-kalpana and brief Ragalapana on his own the music-teacher must be changed. amsharma

[VK RAMAN]

If teachers can only be teachers and not enjoyable performers, how are we going to attract youngsters to this noble art, if we do not create rasikas? Performers are needed to attract rasikas who in turn can become learners or who can support their children to learn this art?

[msakella]

Even though most of all the professional-performers are always used to teach students only to earn money in their lean time also they can never teach efficiently like professional-teachers as they do not have the needed rapport with the students like the professional-teachers. But, there are many teachers who are enjoyable performers far more than many professional-performers. While the performer can only perform but not teach a teacher can both teach and perform efficiently. That is why I wish all our music-teachers follow this new time-bound and resulted-oriented system of teaching not only to make their livelihood but also to train our kids in our cultural and philosophical art, music efficiently, honestly and loyally

We need not be afraid that we are not creating ‘rasikas’. I had the fortune of visiting all the 13 music-colleges and all the music-departments of the Universities in Andhra Pradesh along with the music-departments of the Universities of Madras, Kalakshetra, Madurai, Bangalore, Mysore etc., to find all of them are producing only ‘rasikas’ of more than 70% of their students but not Vidwans at all in the absence of any vigilant supervision. If needed, I am ready to prove this against the assurance of suitable remedial measures.

As I recently wrote elsewhere in one of the recent posts, I can evaluate the abilities of any teacher as now I am in the 10th floor of the 100-floors-building of teaching methods in music while all the present-day-teachers are below the 3rd or 4th floor of this building. Besides, I am also able to go beyond this useless traditional-method of teaching and initiate the primary students even to sing both Poorvanga and Uttaranga of 10 Varnas @ 4, 6 & 8-units per beat along with intricate Svarakalpana and brief Ragalapana even before learning the first Kriti and even within a span of one year. amsharma

[nandiraju]

Dear All,

While I would not be that great to post on this high technique topic, but understanding the same from a student perspective is being provided here -

1. Though getting interest in the subject to learn music would initiate from the greatest and the best of the artistes of the past and the present, however, the aspiration to become like them or more is the first point for him/her to learn.

2. If a student, who aspires to become a musician, should also possess the qualities that are fit to become a fine craftsman, then he/she should be thought. While, there may be ability in the student, however, the same vests with the teachers to bring it out. For this, the point of requirement is enormous self introspection and new and better methods of making the concerned student understand the best part of the same in a shorter time, is the art. Let us look at other art forms, say Kung-fu or Karate etc., there is also a requirement for a clear observation as well as methods and techniques which are needed to be tried and tested. While the ultimate goal is to make the student understand the art and make a master in it, in his/her own rights. If this has become successful, then we would be having future GNB's, MMI's, MLV's etc.,

3. While as prescribed in all the preachings, guru should show the path and make the concerned understand the same, if the same is done, the further going along the path can be envisaged in a more better and charismatic manner.

4. If the entire life is being wasted for us to look around our own areas and stay there still by looking and feeling the environment, but not acting towards the same, then there is a great chance that most of the students would stay like frogs in a well and no change in environment. At least some body should start the thinking process, which Sri. Akella ji has done.

5. Like many great people said, that we need to start from where others have ended, so that we can go the road farther and know what it would be like. But, for this, we should understand where this act is left. For this, the methods that Shri. Akella ji are worth a look after and take adaptations of the same. Since the old school of thought is always known, by looking at a new thought or a fresh thought should be welcome, in the need and necessity for a better atmosphere. I also believe, if there are teachers who are having better and efficient methods, those also can be looked at.

6. As already informed, there is a lot more to do, then rather than looking into the other aspects of who is calling what, why can we not look at the better points and give it a shot.

This discussion, I believe should revolve around the benefits of students than what others were called by whom. But, currently there is an urgent requirement for us to scale the methods and then find better ways and means of bringing others to similar standards or ask them to move to newer standards. This is part of education, which all educational systems are doing, hence music is also no exception.

We should be looking forward for the better of the best, and first keep in mind the students requirements, as this art is divine and there is a necessity for us, rasikas, towards to society to preserve and get it along. If there is no improvement, the chances of seeing another MSG, Lalgudi, MMI, GNB etc., would be lost thus we settling for something less. Our art is one of the best forms and there is an urgent need for every body, every teacher to work united, keeping their differences aside.

As known the environment has changed, and the gurukula style of teachings and lengthy time lines for the art to reach to its peak are now difficult, if we do not mould the interested and capable now, then time would take its own tide... as it had done to dinosaurs/mammoth's.

I request pardon from all the seniors and rasikas, if hurt anybody. but pls pls pls.... join hands for the greater cause.

[msakella]

In the 12th post of this thread our brother-member, srkris, had pointed out that I have equated musical initiation to medical help. In fact I intended to answer this but somehow, at this age, skipped it off. Later, in my review of my posts I again got this point and now I shall answer as it is very very very important to both the aspirant and the parent alike to take proper care while entering into the tentacles of the so called “GURU”, the teacher (but cheater) to learn music.

In general, people think, that I am always used to write something or other against the music-teachers. To tell the truth, I was also one of those ‘GREAT-CHEATER-TEACHERS’ having done the maximum possible harm to all of my disciples till the date of my retirement but innocently. Only later, in my deep introspection, I could realise my sins and thereafter have been trying to pay back the society in a proper way. In fact, I am not at all against any music-teacher but his traditional methods of teaching music which have not been giving the aspirant the needed independency along with Manodharma to develop himself/herself further. I was also one of the victims of the traditional system of teaching.

There may be very few honest and reliable music-teachers but unless they are sufficiently efficient in teaching (but not performing) they can never be reliable. Music could very well be learnt at the tender age efficiently and very quickly if the aspirant is provided with the necessary material in terms of present-day-CDs to listen to them repeatedly. While the teacher hardly teaches (but he/she sings himself and asks the aspirant to follow but doesn’t teach) for half-an-hour or one-hour in a day of 24 hrs. and goes away. Later, there is nothing to properly guide the aspirant in the remaining 23 hrs. This made me think very seriously and when I took proper care in providing him/her some recorded material in Cassettes (then CDs were not there) I found amazing results. Even while teaching, there is no guarantee that this cheater-teacher sings in the same Shruti and in the same rhythm every time and this precision plays a very important role in respect of these kids which is never observed by many of these cheater-teachers.

Here, there is another important basic point to be observed by all the music-teachers very carefully while teaching this invisible art, music to the kids. Always indirect-teaching by initiation makes the kid very highly knowledgeable and independently working on his own than direct teaching. In fact, all the music-teachers are always used to sing themselves and ask the aspirants to follow them by imitation lest they will not be paid the tuition-fee if they don’t sing regularly along with the kid. In this respect many of the Lecturers and Professors working in many Universities even expressed openly that they are not at all interested in supplying any recorded Cassettees or CDs to their students as they may not later attend the classes which very badly affects their jobs. There lies the very important weakness of all the music-teachers. For example, to make the aspirant knowledgeable in cooking you must make him/her cook on his/her own but guide him/her properly and vigilantly not to let him/her commit even a single mistake. In the same manner, even while teaching the driving of car you must make him/her drive the car on his/her own but in your control. Either in cooking or driving the aspirant must feel the practical difficulty himself but corrected by the teacher then and there not to repeat the same in future. In this manner, mostly the teacher’s duty is to prevent him/her from committing mistakes simultaneously training him/her to save himself/herself from committing mistakes in future. For this purpose, even while learning the primary exercises, the CASIO-MA-150 (in India) or CASIO-LK-230 (in USA) both having the facility of Metronome and Transpose (to enable the aspirant play the white-keys only for Shankarabharana-raga irrespective of any Shruti) helps the aspirant 100-times more than this cheater-teacher maintaining the same Shruti and rhythm always. Many of these cheater-teachers tell the aspirants to sing all the primary exercises in three degrees of speed and they do not know that it is suicidal to do so at the primary-level. It is always healthy and preferable to the aspirant to initiate him/her to play the Casio and sing only one inspirative speed @ one note per second (either 2-notes of 120 bpm. or 4-notes of 60 bpm. of the in-built-metronome) and three-degrees should be taught at the end of Gitas. Up to Gitas they should be taught without any oscillations and with only the alternative beats of both the hands but neither the different Talas nor the speeds should be taught. Simultaneously, it will abundantly be helpful, if he/she is initiated to play all the primary exercises in the 32-Avivadi-melas and sing along with them to give them the needed acquaintance will all the 12 notes (at this level it is not desirable to teach him/her the 16-Shuddha-vikrita-notes or the scheme of 72-melas).

Everybody very well knows that ‘Bhaava’ can neither be taught nor be learnt but technicalities could only be taught to the aspirant. If all the needed technicalities are successfully taught within a couple of years at the most and later, his/her hard work basing upon these technicalities only makes him/her a Vidwan or an Artist. But, I never understand some stalwarts claiming that ‘so and so’ had learnt music from me for the last 20 years or 30 years. For example, if my house-wife tells me that she has been cooking to prepare our meal for the last one week and, no doubt, I must be a real fool to believe it and God alone must save me.

I wish that our brother-member, nandiraju’s wish should be fulfilled by making concerted efforts in efficiently shaping the present kids as GNBs, MMIs, MSGs & LGJs etc., etc. amsharma

[VK RAMAN]

nandiraju -
"Though getting interest in the subject to learn music would initiate from the greatest and the best of the artistes of the past and the present, however, the aspiration to become like them or more is the first point for him/her to learn" - One has to learn to be oneself and not aspire to be someone else

[nandiraju]

Dear Raman Ji,

I fully agree with you. But, the initial step should be to get interest by looking at great people and getting inspiration from them. Bhava and renderations are one's own creations and they should not be like others, but should be of own. However, we can get inspirations and ideas and methods in the initial stages would come from experts.